{"product_id":"frederick-stock-and-the-chicago-symphony-volume-1-1916-1926-pasc657","title":"FREDERICK STOCK and The Chicago Symphony, Volume 1 (1916-1926) - PASC657","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePreludes \u0026amp; Orchestral Excerpts\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eHungarian Dances\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDVOŘÁK \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eCarnival Overture\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eGOLDMARK \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eIn Springtime Overture\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eJ. STRAUSS II\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Four Waltzes\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSUPPÉ \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePoet And Peasant Overture\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eTHOMAS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eMignon Overture\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003emusic by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eElgar, Sibelius, Handel, Mendelssohn\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e et al\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1916-1926\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 30:36\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eChicago Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eFrederick Stock\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC657.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\nThis release is the first in a series devoted to longtime Chicago Symphony\nOrchestra music director Frederick Stock, and celebrates the 150th\nanniversary of his birth. All of Stock’s symphonic recordings will be\nfeatured in upcoming volumes (his four concerto recordings have already\nbeen well-covered on CD reissues), presented in the order in which they\nwere recorded. Many items have not been available since the 78 rpm era. In\nthis volume, all of the acoustics except for the Mendelssohn are being\nreissued for the first time, as are the electrics of the Dvořák and Thomas\novertures and two Strauss waltzes.\n\u003c\/p\u003e\n\u003cp\u003e\nStock was born in Jülich, Germany, on 11 November 1872. His father, an army\nbandmaster, provided his early musical training. He entered Cologne\nConservatory at the age of fourteen studying violin and composition; among\nhis teachers was Humperdinck, and Willem Mengelberg was a classmate. Upon\nhis graduation in 1890, he joined the Municipal Orchestra of Cologne as a\nviolinist. Five years later, he auditioned for the visiting Theodore\nThomas, who was recruiting players for his four-year-old Chicago Orchestra.\nThomas hired him initially as a violist, but within four years he\nrecognized Stock’s conducting talent and made him his assistant.\n\u003c\/p\u003e\n\u003cp\u003e\nWhen Thomas died suddenly in January, 1905, Stock served as interim music\ndirector while the orchestra board attempted to secure the services of such\nwell-known European conductors as Weingartner, Richter and Mottl. When the\nboard’s efforts failed, Stock was appointed for a trial year. He was to\nremain music director until his death thirty-seven years later (20 October\n1942), a record surpassed among major American orchestras only by Ormandy’s\ntenure with the Philadelphia, and by few other conductor\/orchestra\ncombinations throughout the world (Mengelberg\/Concertgebouw,\nMravinsky\/Leningrad).\n\u003c\/p\u003e\n\u003cp\u003e\nStock’s recording career divides neatly into three periods. His Columbia\nacoustics of 1916-17 (the first recordings made by a credited American\norchestra under its own music director) were succeeded, after an eight-year\nhiatus, by a series of electrical recordings for Victor (1925-30) which\nincluded Bach’s B Minor Suite, a Mozart 40th, Schumann’s “Spring” Symphony\nand Tchaikovsky’s Fifth. After another nine-year absence from the\nmicrophone, Stock and the Chicago Symphony rejoined Columbia for two\nseasons (1939-40 and 1940-41) for an extensive string of recordings\nincluding a Mozart “Prague”, the Schubert 9th, the Schumann Fourth, Brahms’\nThird and \u003cem\u003eTragic\u003c\/em\u003e Overture, Tchaikovsky’s \u003cem\u003eNutcracker\u003c\/em\u003e\nSuite, Strauss’ \u003cem\u003eAlso Sprach Zarathustra\u003c\/em\u003e and numerous short\n“popular” works, as well as concerto recordings with Milstein and\nPiatigorsky. Returning to Victor for what turned out to be his final full\nseason with the orchestra (1941-42), he made two much-admired Beethoven\nconcerto recordings with Schnabel, as well as Dvořák’s \u003cem\u003eIn Nature’s Realm\u003c\/em\u003e and the Chausson Symphony.\n\u003c\/p\u003e\n\u003cp\u003e\nThe acoustics and early electrics presented in this volume benefit from the\nlack of re-scoring typical of other recordings of the era, in which tubas\nreinforced the bass line and other instruments that “projected” better were\nsubstituted for the original choices. Only the \u003cem\u003eParsifal\u003c\/em\u003e excerpt\nseems to be notably lacking in tympani support, which is nonetheless heard\nelsewhere among the acoustics. The sound on these reveals a reduced\nensemble in small venues; yet the well-disciplined playing of the orchestra\nis apparent even in the earliest recordings. By the time of their first\nsessions with the full ensemble in the rather over-reverberantly recorded\nOrchestra Hall, the Chicago Symphony’s stature among the world’s great\nensembles has been firmly established, as has their conductor’s\nrhythmically flexible and vital interpretive approach.\n\u003c\/p\u003e\n\u003cp\u003e\nThe sources for the transfers were American Columbia “Tri-Color” label\npressings for the acoustics, and mainly “Z” and “Gold” label Victor\npressings for the electrics except for the Brahms, which came from a vinyl\ntest pressing. The second side of the Thomas overture and the Handel and\nElgar recordings were dubbed very early on in order to prevent blasting on\nthe heavy pickups of the day. These are presented here from undubbed first\nedition “Orthophonic” pressings, which, though somewhat heavier in surface\nnoise, better preserve the immediacy and dynamic range of the original\nrecordings.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eFREDERICK STOCK\u003c\/b\u003e and The Chicago Symphony, Volume 1\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCD 1 Columbia Acoustics, 1916 - 1917 (74:53)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n1.\n\n\u003cstrong\u003e\nMENDELSSOHN Wedding March from \u003cem\u003eA Midsummer Night’s Dream\u003c\/em\u003e\n\u003c\/strong\u003e\n\u003cstrong\u003e, Op. 61 \u003c\/strong\u003e\n(4:28)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 1 May 1916 ∙ Matrix: 48763-2 ∙ First issued on Columbia A5844\n\n\u003c\/p\u003e\u003cp\u003e\n2. \u003cstrong\u003eWAGNER Ride of the Valkyries from \u003cem\u003eDie Walküre\u003c\/em\u003e \u003c\/strong\u003e\n(4:36)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 1 May 1916 ∙ Matrix: 48764-2 ∙ First issued on Columbia A5903\n\n\u003c\/p\u003e\u003cp\u003e\n3. \u003cstrong\u003eGRIEG The Last Spring from Two Elegiac Melodies, Op. 34 \u003c\/strong\u003e\n(4:39)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 2 May 1916 ∙ Matrix: 48766-2 ∙ First issued on Columbia A5844\n\n\u003c\/p\u003e\u003cp\u003e\n4.\n\n\u003cstrong\u003eSAINT-SAËNS Bacchanale from \u003cem\u003eSamson et Dalila\u003c\/em\u003e\u003c\/strong\u003e\n\n\u003cstrong\u003e, Op. 47 \u003c\/strong\u003e\n(4:14)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 2 May 1916 ∙ Matrix: 48770-1 ∙ First issued on Columbia A5903\n\n\u003c\/p\u003e\u003cp\u003e\n5.\n\n\u003cstrong\u003eTCHAIKOVSKY Waltz from \u003cem\u003eSleeping Beauty\u003c\/em\u003e \u003c\/strong\u003e\n\n(4:16)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 2 May 1916 ∙ Matrix: 48772-1 ∙ First issued on Columbia A5860\n\n\u003c\/p\u003e\u003cp\u003e\n6. \u003cstrong\u003eJÄRNFELT Praeludium \u003c\/strong\u003e(2:31)\u003cbr\u003e7. \u003cstrong\u003eFRANÇOIS\u003c\/strong\u003e\u003cstrong\u003e SCHUBERT \u003c\/strong\u003e\u003cstrong\u003eThe Bee from Bagatelles, Op. 13, No. 9 \u003c\/strong\u003e(1:48) \u003cbr\u003eRecorded 2 May 1916 ∙ Matrix: 48776-3 ∙ First issued on Columbia A6014\n\u003c\/p\u003e\n\u003cp\u003e\n8. \u003cstrong\u003eBIZET \u003cem\u003eCarmen\u003c\/em\u003e – Prelude to Act 4 (Aragonaise) \u003c\/strong\u003e\n(2:08)\u003cbr\u003e9. \u003cstrong\u003eBIZET \u003cem\u003eL’Arlésienne\u003c\/em\u003e – Farandole \u003c\/strong\u003e(1:19) \u003cbr\u003eRecorded 8 May 1916 ∙ Matrix: 48794-2 ∙ First issued on Columbia A5860\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n10.\n\n\u003cstrong\u003e\nWAGNER Parsifal – Processional of the Knights of the Holy Grail\n\u003c\/strong\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n(4:25)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 8 May 1916 ∙ Matrix: 48796-1 ∙ First issued on Columbia A5894\n\n\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n11. \u003cstrong\u003eWAGNER Lohengrin – Prelude to Act 1 \u003c\/strong\u003e(4:23) \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 8 May 1916 ∙ Matrix: 48803-2 ∙ First issued on Columbia A5894\n\n\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n12. \u003cstrong\u003eSUPPÉ Poet and Peasant – Overture \u003c\/strong\u003e(7:30) \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 14 \u0026amp; 15 May 1917 ∙ Matrices: 49193-2 \u0026amp; 49194-2 ∙ First\nissued on Columbia A5991\n\n\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n13.\n\n\u003cstrong\u003e\nJ. STRAUSS II Thousand and One Nights – Waltz, Op. 346\n\u003c\/strong\u003e\n\n(4:22)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 14 May 1917 ∙ Matrix: 49195-2 ∙ First issued on Columbia A6005\n\n\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n14.\n\n\u003cstrong\u003e\nWOLF-FERRARI \u003cem\u003eJewels of the Madonna\u003c\/em\u003e - Intermezzo\n\u003c\/strong\u003e\n\n(3:10)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 15 May 1917 ∙ Matrix: 49201-2 ∙ First issued on Columbia A6014\n\n\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n15. \u003cstrong\u003eSIMONETTI (orch. Stock) Madrigale \u003c\/strong\u003e(2:16)\u003cbr\u003e16. \u003cstrong\u003eSCHUBERT (orch. Stock) Moment musical, D.780, No. 3 \u003c\/strong\u003e\n(1:48)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 16 May 1917 ∙ Matrix: 49203-2 ∙ First issued on Columbia A6026\n\u003c\/p\u003e\n\u003cp\u003e\n17.\n\n\u003cstrong\u003eGLAZUNOV \u003cem\u003eLes Ruses d’Amour\u003c\/em\u003e, Op. 61 - Waltz \u003c\/strong\u003e\n\n(4:29)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 16 May 1917 ∙ Matrix: 49204-1 ∙ First issued on Columbia A6026\n\n\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n18.\n\n\u003cstrong\u003eJ. STRAUSS II Voices of Spring – Waltz, Op. 410 \u003c\/strong\u003e\n\n(4:20)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 16 May 1917 ∙ Matrix: 49207-1 ∙ First issued on Columbia A6005\n\n\u003c\/p\u003e\u003cp\u003e\n19.\n\n\u003cstrong\u003eSMITH (orch. Stock) The Star-Spangled Banner \u003c\/strong\u003e\n\n(2:39)\u003cbr\u003e20. \u003cstrong\u003eCAREY (orch. Stock) America \u003c\/strong\u003e(1:23)\u003cbr\u003eRecorded 28 May 1917 ∙ Matrix: 49205-1 ∙ First issued on Columbia A5977\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n21. \u003cstrong\u003eMEACHAM American Patrol – March \u003c\/strong\u003e\n(3:57)\u003cbr\u003eRecorded 28 May 1917 ∙ Matrix: 49206-2 ∙ First issued on Columbia A5977\n\n\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCD 2 Victor Electrics – 1925 - 1926 (75:43)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n1. \u003cstrong\u003eDVOŘÁK Carnival – Overture, Op. 92 \u003c\/strong\u003e(8:51) \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 19 December 1925 ∙ Matrices: CVE 34049-2 \u0026amp; 34050-2 ∙ First\nissued on Victor 6560\n\n\u003c\/p\u003e\u003cp\u003e\n2. \u003cstrong\u003eGOLDMARK In Springtime\u003c\/strong\u003e \u003cstrong\u003e – Overture, Op. 36 \u003c\/strong\u003e(8:30)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 20 December 1925 ∙ Matrices: CVE 34054-4 \u0026amp; 34055-5 ∙ First\nissued on Victor 6576\n\n\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003e\nMAC DOWELL (orch. Stock) Woodland Sketches, Op. 51\u003c\/strong\u003e\u003cbr\u003e3. No. 6: To a Water Lily (2:56)\u003cbr\u003e4. No. 1: To a Wild Rose (2:21)\u003cbr\u003eRecorded 22 December 1925 ∙ Matrices: BVE 34065-5 \u0026amp; 34066-4 ∙ First\nissued on Victor 1152\n\n\u003c\/p\u003e\u003cp\u003e\n5. \u003cstrong\u003eSIBELIUS Valse triste from \u003cem\u003eKuolema\u003c\/em\u003e, Op. 44 \u003c\/strong\u003e\n(4:14)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 22 December 1925 ∙ Matrix: CVE 34067-3 ∙ First issued on Victor\n6579\n\n\u003c\/p\u003e\u003cp\u003e\n6.\n\n\u003cstrong\u003e\nVOLKMANN Waltz from Serenade for String Orchestra, Op. 63\n\u003c\/strong\u003e\n\n(3:07)\u003cbr\u003e7.\n\n\u003cstrong\u003e\nRIMSKY-KORSAKOV Flight of the Bumble-Bee from \u003cem\u003eTsar Sultan\u003c\/em\u003e\n\u003c\/strong\u003e\n\n(1:27)\u003cbr\u003eRecorded 22 December 1925 ∙ Matrix: CVE 34068-3 ∙ First issued on Victor\n6579\n\u003c\/p\u003e\n\u003cp\u003e\n8.\n\u003cstrong\u003e\nWAGNER \u003cem\u003eDie Meistersinger von Nürnberg\u003c\/em\u003e – Prelude to Act 1\n\u003c\/strong\u003e\n(9:09)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 20 December 1926 ∙ Matrices: CVE 37270-7 \u0026amp; 37271-6 ∙ First\nissued on Victor 6651\n\n\u003c\/p\u003e\u003cp\u003e\n9.\n\n\u003cstrong\u003eJ. STRAUSS II – Wine, Women and Song – Waltz, Op. 333 \u003c\/strong\u003e\n\n(4:41)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 20 December 1926 ∙ Matrix: CVE 37272-4 ∙ First issued on Victor\n6647\n\n\u003c\/p\u003e\u003cp\u003e\n10.\n\n\u003cstrong\u003eJ. STRAUSS II – Roses from the South – Waltz, Op. 388 \u003c\/strong\u003e\n\n(4:44)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 21 December 1926 ∙ Matrix: CVE 37274-2 ∙ First issued on Victor\n6647\n\n\u003c\/p\u003e\u003cp\u003e\n11. \u003cstrong\u003eTHOMAS \u003cem\u003eMignon\u003c\/em\u003e – Overture \u003c\/strong\u003e(7:59) \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 21 December 1926 ∙ Matrices: CVE 37275-2 \u0026amp; 37276-3 ∙ First\nissued on Victor 6650\n\n\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003eBRAHMS (orch. Dvořák) Hungarian Dances\u003c\/strong\u003e\u003cbr\u003e12. No. 17 in F sharp minor (1:57)\u003cbr\u003e13. No. 18 in D major (1:07)\u003cbr\u003e14. No. 19 in B minor (1:44)\u003cbr\u003e15. No. 20 in E minor (2:17)\u003cbr\u003e16. No. 21 in E minor (1:20)\u003cbr\u003eRecorded 21 \u0026amp; 22 December 1926 ∙ Matrices: CVE 37277 \u0026amp; 37283 ∙\nUnissued on 78 rpm\n\u003c\/p\u003e\n\u003cp\u003e\n17. \u003cstrong\u003eHANDEL – Largo from \u003cem\u003eSerse\u003c\/em\u003e (“Ombra mai fu”) \u003c\/strong\u003e\n(4:40)\u003cbr\u003e\u003cb\u003eWalter P. Zimmermann\u003c\/b\u003e, organ\u003cbr\u003eRecorded 22 December 1926 ∙ Matrix: CVE 37281-5 ∙ First issued on Victor\n6648\n\u003c\/p\u003e\n\u003cp\u003e\n18. \u003cstrong\u003eELGAR Pomp and Circumstance \u003c\/strong\u003e \u003cstrong\u003eMarch No. 1, Op. 39 \u003c\/strong\u003e(4:31)\u003cbr\u003e\u003cb\u003eWalter P. 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